It’s interesting to note that this track marks yet another reference to French disco legend Cerrone (Supernature is also the name of a classic Cerrone album), but Goldfrapp’s explanation of the title is more of a random coincidence than another tribute. “We were jamming, and the word ‘Cerrone’ just came out of my mouth,” she says. “Subconsciously, maybe I was thinking of Cerrone, but it wasn’t something in the front and center of my mind. The ‘Houdini’ part came because I was reading a book about him and the whole idea of escapism. I used this as a metaphoric idea about an ex-boyfriend who tried to escape from as many situations as possible.”

And when you see the video for Cerrone’s Supernature you can perhaps see the influence he’s had on Goldfrapp… Compare it

to perhaps Number 1, A&E or Alive (videos below), and perhaps even a little Rocket. I think I’ve found a brilliant new French musician to enjoy!

Or perhaps as was pointed out to me after I posted this perhaps Cerrone’s animal head and shaky camera fetish had more of an influence on Goldfrapp’s video for Train:

Tonight is Eurovision 2010 – in Oslo. Last year’s fiddler won resoundingly and took the contest to Norway this year. Having seen the semi-finals (including the shock ejection of Sweden!) I’m looking forward to a night of musical camp and frivolity.

For Pete’s Sake! This year’s UK Eurovision entry may have come in for criticism – and to be honest I don’t know a single friend of mine that thinks it’s much good – but That Sounds Good To Me (below) has certainly grown on me. The title refrain has not only been going round in my head all day, but coming out of my mouth too!

Azerbaijan are known to be favourites this year. Their ballad-ic eurostyle song (Swedish written, of course) is one that – in song terms perhaps – should do very well. In a quirk of eurovision Cyprus this year is represented by a Welsh boy. Not so sure they’re favourites though, sadly.

But I have a couple of other personal favourites. Romania’s catchy little number (musically less melodic than Azerbaijan, but more catchy than Pete Waterman’s ditty) is one of those tracks that sticks in your head and you remember in the midst of the other short numbers that merge into one as you watch them all.

The Ukranian track is another memorable one, less camp, more quirk but with a mild svensk-schlager slant. Interestingly this song was selected in a re-run of the country’s own contest this year after a new president of the state controlled television network was appointed by the government. Finally, however, Bulgaria have realised that it’s not only about the song – it’s the performance – in Bulgaria’s case a dance track accompanied by babyoil coated dancers (for which you may have to watch tonight!)…

=====================

UPDATE: well I’ve just been reminded you won’t be able to look out for babyoil boys – their dance number failed – like Sweden – to make it through the semis. Shocking, i know!

I’ve been a fan of all things Swedish for some time now, ever since I spent six months there in 2003 (that makes me feel old). So I have been surprised not to have attended the Scandinavian pop night Scandipop before last night. I went with a friend (who was late) but also met a couple of friends there for some live music from BWO, a.k.a. Bodies Without Organs, a Swedish “laptop pop” trio in the style of Army of Lovers with a quirky humourful poppyness and recent hits including Chariots of Fire, and Sunshine in the Rain.